NOV 19 1900 
NO PLAYS EXCHANGED. 



k ™ \her'3 Edition 

i 6T PL7W3 



19 L5 
Copy 1 



THE LITTLE BOSS 



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NEW OPERETTAS FOR CHILDREN. 



EDITH'S DREAM.l 

Sn ©peretta for Cljiltiren. 






Wordl by MARGARET FEZANDIE and EDGAR MORETTE. /(> 
Music by EUGENE FEZANDIE, Jr. 



Eleven characters, girls and boys, or all girls, as preferred ; ten or more addi- 
tional tor chorus. Scenery unnecessary; costumes, pretty and fanciful, but 
easily arranged at home, this admirable little piece is printed complete with 
music. It is very tuneful and gracefully imagined, and is strongly recommended 
for private theatricals or for schools. It is particularly well suited for the latter 
use, as it deals whimsically with the question of youthful study, inculcating, 
however, an excellent moral. 



Price 



35 cents. 



US 
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(US 

ODD OPERASHEVENTIDE. J 

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A Collection of Short and Simple Musical 
Entertainments for Children. 

By MRS. G. N. BORDMAN. 



This collection provides a simple operetta, a fairy opera, a picturesque motion 
song, a quaint musical pantomime, a pretty musical sketch, and two original 
humorous recitations for children, complete, with all the music, and full instruc- 
tions for performance. The music is tuneful and simple, and is specially written 
with the tastes and limitations of children in view. The solos are easily learned 
and sung, And all the choruses are written for voices in unison. The collection 
is strongly recommended for its simplicity and perfect practicability. Neither 
stage nor scenery is demanded, nor any other requirements that cannot be met 
without trouble by the equipment of the ordinary hall or church vestry, and the 
zeal of the most economical committee of arrangements. 



Price 



CONTENTS. 



50 cents. 



A Glimpse of the Brownies. A 

Musical Sketch for Children. Any 
number of boys. 

Market Day. An Operetta for Young 
People. Seven speaking parts and 
chorus. 

Oueen Floral's Day Dream. An 

Operetta for Children. Six speak- 
ing parts and chorus. 



Musical 
Thirty 



The Boating 

Sketch for Little Children 

boys and girls. 
Six Little Grandmas. A Musical 

Pantomime for very Little Children. 

Six very little girls. 
Jimmy Crow. A Recitation for 

Little Girl. 
A House in the Moon. A Recita 

tion for a Child. 






The Little Boss 



A Comedy Drama in Four Acts 



By FRANK L. BIXBY 






The rights to perform this play, for both professionals and amateurs, 
must be secured from Dore Davidson, care of American Dramatists' 
Club, Townsend Building, Twenty-fifth street and Broadway, New York 
City. Any unauthorized production will be rigorously prosecuted. 



WALTER 


BOSTON 

H. BAKER & CO 
1901 


*m 




■i 



L 



The Little Boss 



Chip Whitsell, 
Alice Wentworth, 
Ann Blake, 
Mammie Caroline, 
Harry Woodson, 
John Lydecker, 
Mo. Simons, 
Ward Sylvester, 
Terry Donovan, 
Silas Whitsell, 



CHARACTERS 



Soubrette. 

Lead or juvenile. 

Heavy. 

Character comedy, negro. 

Lead or juvenile. 

Heavy. 

Character heavy, Jew. 

Character juvenile, stutters. 

Lrish comedy. 

Character, old man. 



Time, — Now. 



THE SCENES. 

Act I. — Whitsell's farm in the Tennessee Hills. "A dis- 
appointed land buyer." 

Act II. —Alice Wentworth's room, City Hotel, Rushville, 
Tenn. "A pair of sixes." 

Act III. — Scene i, — On the road to Bryan's Rock. Scene 
2, — The counterfeiter's den in the mountains. ''Taking the 
men red-handed." 

Act IV. — John Lydecker's room, Rushville, Tenn. "Join- 
ing hands." "• '■ 

77*06 ' 



Library of Congress 

Two Copies Received 
NOV 19 1900 

Copytieht entry 
No..v!r.« .v^r/»^ Copyright, 1900 




SECOND COPY 

Delivered to 

ORDER DIVISION 
DEC 3 1900 



by Dore Davidson 
All rights reserved 



The Little Boss. 

ACT I. 

SCENE. — Mountai?i drop in 4. Set cottage at r. 2, e., «//M 
window to audience. White picket fence crosses at 3 with 
centre gate open. Old farm tools, etc. Make the scene as 
picturesque as possible, but with a general air of neglect 
about it. 

Chi. (outside, calling). Daddy ! ! 0, daddy ! 

Whi. {inside cottage, dozing by window). Ugh ! 

Chi. {outside, singing). " Dis is de way we alius do — meet 
my daddy in de mornin' . Kase you love me an' I love you — meet 
my daddy in de mornin'." {Runs to c. behind 'fence.) Well, 
I may meet him in the morning, but — (calling) O-oh, daddy ! 

Whi. (inside, rousing up). Yes, yes, coming, Chippy, 
I'm coming. (Rises slowly.) 

Chi. So is the day of judgment. (Runs down to door of 
house; sings.) "Oh the June bug loved a bumble bee — 
meet my daddy in de mornin' " 

Whi. (enters from cottage). Why, Chippy, child? 

Chi. Yes, that's me — your child — your for true, onliest 
child. {Laughs.) 

Whi. Wherever have you been ? 

Chi. Been huntin', don't you see? 

(Shows gun ; puts it against cottage.) 

Whi. You have ? 

Chi. Yes, I have, daddy. {Kisses him.) 

Whi. And you 

Chi. Yes, I did. How'd you know? I killed a great 
whoppin' wild turkey gobbler. 
Whi. You did ? 



4 THE LITTLE BOSS. 

Chi. 'Deed I did. Dead as a door nail, and I think-that's 
purty nigh the deadest thing there is. 

Whi. No 'tain't, Chippy. Times is deader ner that roun' 
here. 

Chi. Well, anyhow, that old gobbler is dead enough to be 
too heavy for me to carry. (Terry starts to cross at back.) 
Hey, there ! 

Ter. (stops'). Is it me ye're callin', hay? 

Chi. Yes, before it's cut. 

Ter. Listen to that, now? It's grass I am. 

Chi. Oh, no ; only the color of it. 

Whi. Chippy ! Chippy ! 

Chi. Oh, Terry don't mind me, do you, Terry? Say, 
where you goin' ? 

Ter. To Rock Canyon powder house fer a kag o' powder. 

Whi. The company keeps a big supply of it in that house. 

Ter. Indade, yis. Enough to blow up the whole county 
to wanst. [Whitsell exit to cottage. 

Chi. Well, before she goes up, I want you to do me a 
favor. 

Ter. (comes down, takes off his hat). Indade I will. 

Chi. Say, Terry. Why do they call you Terry ? Because 
you are a tarrier? 

Ter. Sure, Terry's not me name — it's a condinsation. 

Chi. What kind of a sation ? 

Ter. It's an abrevature. 

Chi. Oh, yes. An abrevaturestftion. 

Ter. No, no. It's an abrevature of Terrence O'Neil 
Scallan McHugh 

Chi. Clip it off there. 

Ter. Hinnissey O'Regan 

Chi. Stop it ! stop it ! 

Ter. Donovan. 

Chi. I really believe, Terry, you're Irish. 

Ter. Yis, I am. Who towld ye? 

Chi. Oh, I measured you. 

Ter. Ye did ? Whin ? 

Chi. Oh, just now. 

Ter. I didn't see ye. What wid ? 

Chi. That 17th of March name of yours. 

Ter. Luk at that now. 

Chi. Smart, ain't I? But I didn't tell you what I want. 
I — want — you 



THE LITTLE BOSS. 5 

Ter. Do ye now ? Well, I niver thought that before ; but 
ye might do worse. 

Chi. To get my game 

Ter. It's game yer makiii' o' me, I'm thinkin'. 

Chi. Yes, a big wild turkey gobbler. 

Ter. Howld on, now, howld on. Ye may call me hay and 
grass, but whin ye call me a turkey, why 

Chi. I might just as well say, Terry, you're a bird — hey ? 

Ter. Ye might. 

Chi. Yes, sir, an owl from the owl'd sod. 

Ter. Arrah, would ye listen to her ; but I must be goin'. 

Chi. Wait. I want you to bring up the turkey gobbler 
you'll find hanging on a branch, about a hundred yards this 
side of Bryan's rock. 

Ter. Hung was he? What for? 

Chi. For gobblin' his own gobble. {Laughs?) 

Ter. Thin I'll bring him up, an' ye can cook him wid that 
owl ye spake about. [Laughs and exit through gate and off l. 

Car. (in cottage). Whar she is? Dat's what I wan' ter 
know. 

Whi. (in cottage). Outside, mammy, I told ye outside. 

Car. {in cottage). Been gallopin' an' rompin' roun',hugh? 
Wait 'til I done lay my han's on dat chile. 

Chi. Oh, but Mammy Car' line is takin' on. 

Car. (at door). Dar yo' is — jus' lafin' an' caperin' afore 
my very eyes, an' me dat worriet 'bout yo'. 

Chi. Worried about me ? That's funny. 

Car. (starts at her). 'Deed 'tain't funny, 'tain't funny one 
bit. Wait 'til I git my han's on you, dat's all. 

Chi. Goin' to beat me ? 

Car. Yas I is, I 

Chi. (coquettishly). Wha-t? 

Car. (stops and looks at her). Well, I declar' ef my baby 
chile ain't de pootiest thing I evah did look at. Whar yo' 
bin ? 

Chi. Oh, down yonder. (Points l.) 

Car. Has, huh? an' yo' po' ole mammy, dat's done rais' 
yo' up fum a baby, evah sence yo' po' ma die — worriet haf to 
def. 

Chi. You do look badly, mammy. 

Car. Who does? Yo' don' come in de hous' dis minit. 
Dat fried chicken all git burn to nothin' waitin' fo' yo'. I 
nevah did see sich good fer nothin'— no 'count chile as yo' is. 



O THE LITTLE BOSS. 

Chi. That's right, mammy. That's what everybody says. 

Car. Sez what ? 

Chi. That I'm no 'count. Just like daddy. A chip of the 
old block. 

Car. I jus' lak to hyar dem say it, dat's all. Dey fine 
dey's got in waspuses nes' hard an' fas', dat's what. Who say 
dat — done tel' me who say it ? 

Chi. Why, let me see — um 

Car. Huh ! Don't go an' talk no mo' sich foolishnis lak 
dat to me. Come in dis house I te' ye dis berry minit. 

Chi. And get a beating? 

Car. Who's gwine to beat yo', I lak to know? 

Chi. Why 

Car. Huh ! I jus' lak to see any livin' bein' tech my 
chile, dat's all. 

Chi. Except you, mammy. 

Car. Well, yo' does aggerwate me mos' awful. 

Chi. I'm a bad worrisome child, I know. 

Car. No, ye ain't. Yo' is my sweet baby lam', dat's what 
yo' is. How offen mus' I tell yo' dat? Come in de hous', 
sweetie. (Takes her hand.) 

Chi. Here goes for the fried chicken. 

[Chip and Caroline exeunt to cottage. 

Lyd. {enters at l. 3, followed by Moses). I hope we will 
find the old fool at home. This thing must be closed up 
quick. 

Mo. The quicker the better, ain't it, Jackie? Ve vant de 
money, huh? 

Lyd. That's nothing new for you. I never saw you when 
you didn't want money. 

Mo. Who, me ? Vat a scantal on the name of Simons. 

Lyd. It's a pity about you. 

Mo. Ain't it? Put vat are ve do do, Jackie tear, now 
ve're here? 

Lyd. Do? Why get this land. 

Mo. Oh, I see. Do dear old Mr. Vitsell, hybnotize him, 
ain't it ? Get the lant for a song. 

Lyd. That's the idea. 

Mo. A crate itea, Jackie tear, crate. Put I can't sing, I 
hafen't my nodes. 

Lyd. Oh, yes, you have, plenty of them — and some of 
them are counterfeit too. 

Mo. Sh — ssh ! for de lof of hefen, not so lout. 



THE LITTLE BOSS. 7 

Lyd. Oh, no danger of them in this deal. Now mind, 
don't try to shove any of the queer stuff this time. Use good 
money, and we will turn it all into gold. This land is full of it. 

Mo. {looking at ground). Ant olt Vitsell ton't know it. 
Ain't id peautiful, Jackie, ain't it peautiful ? 

Lyd. It will be'if we get the land. Now here's the idea — 
Whitsell is hard up, — needs some money, — ain't very bright 
anyhow. I'll do the talking ; be careful you don't chip in, 
and spoil the trick. 

Mo. I'm as dumb as an oyster, so helb me. 

Lyd. There's some one coming. Let's walk down the 
road, until they are gone, and we can catch old Whitsell alone. 

Mo. Ant sing him a song for his lant. Ain't it peautiful? 
[Moses and Lydecker exeunt r. 3. 

Syl. (enters l. 3, with shawl, cloak, sun umbrella, cane, 
etc. He stutters). G-g-good g-gracious ! {Lays down 
wraps.) G-g-good g-gracious ! Did I s-s-say good g-g-gra- 
cious? Y-y-es, I d-d-did. 

Chi. (enters from cottage; aside). Jimminy ! look at the 
swell. 

Syl. Ah, y-y- young 1-1-lady? 

Chi. If it troubles you, don't say it. But don't start your 
deal with young lady. I'm only a girl — plain everyday 
g-i-r-1. 

Syl. Ah, y-y-yes. 

Chi. Yes. 

Syl. Ah, y-y-yes. 

Chi. You said that before. 

Syl. Ah, y-y-yes. 

Chi. If you say ah, y-y-yes to me again, you'll get in 
trouble. 

Syl. Ah, y-yes. I m-m-mean I'm in tr-tr-trouble now. 

Chi. Yes, I've noticed it. Too bad, ain't it? Were you 
born that way ? 

Syl. N-n-no ! I m-m-mean, yes. But th-that's not my 
tr-tr-trouble. 

Chi. No ? I thought it was. What is it — got chilblains ? 
You seem uneasy on your feet? 

Syl. Ah, y-y-yes. 

Chi. There you go again. You give me the fidgets. 

Syl. Ah, y-y 

Chi. Stop. 

Ter. (runs on l. 3). I will thin. 



8 THE LITTLE BOSS. 

Chi. Hello, Terry. Look at that. {Nods at Sylvester.) 
And say, wait 'til you hear him say Ah, y-y-yes. 

Ter. I've no time to wait. I just run to tell yees a young 
woman had sprained her leg down below, an' Mr. Woodson's 
helpin' her up the hill. 

Syl. Ah, y-y-yes. (Chip starts at hini). That's my tr-tr- 
trouble. 

Chi. 1 think it's the young lady's. 

Ter. Yes, an' Mr. Woodson said would I run ahead an' 
give yees the word. 

Chi. You're a good fellow, Terry, and Harry's a brick. 

Syl. Ah ! 

Chi. Will you please keep quiet ? 

Syl. Ah, y-y-yes. 

Chi. Head off that calf, will you, Terry? (At door.} 
Mammy ! Mammy ! Daddy ! 

Car. {enters from cottage, folloived by Whitsell). What's 
de mattah, honey lam' ? 

Syl. Ah ! 

Chi. There ! Oh, mammy, a young lady has sprained her 
ankle down the path 

Car. Whar she is? I don' run down an' see. (Starts.) 

Whit. I better go an' 

Syl. Ah, y-y-yes. 

Chi. Stop ! Of all the lunatics. Mammy, run and bring 
out a easy-chair ! Daddy, get the camphor ! (To Sylvester, 
who is bustling round.) You stand still, will you? Terry, 
run down and help Harry. 

[Caroline and Whitsell exeunt to cottage. 

Ter. I will. \_Exit l. 3. 

Car. (rushes on). Which cheer yo' want, honey? 

Chi. Any one that's comfortable. 

Car. Yas-sum. (Starts to exit; runs into Whitsell.) 
Urn ! Ugh ! 

Whi. (coming from cottage). Can't find no camphor, 
Chippy, but here's the caster ile. 

Chi. Castor oil ? Ugh ! It makes me sick to look at it. 

Syl. Ah, y-y-yes. 

Whi. Anything else I can get ? 

Chi. Lord, no. You might bring the Bible and frying-pan 
next. I'll get the camphor. (Whitsell exits to cottage.) 
Say, you stay right where you are. Don't move. 

[Exit to cottage. 



THE LITTLE BOSS. O, 

Syl. Ah, y-y-yes. D-d-deuced f-f-ine girl, full of 1-1-life. 

(Caroline rushes to c. with chair ; Chip follows with cam- 
phor bottle.) 

Whi. {rushes on with bottle in one hand and bundle of herbs 
in the other). Here's some turpentine an' pennyr'yle. 

Car. Yo' pa's mighty fine han' wid sick fokes, honey. 
'Deed he is. 

Chi. Ain't he? 

Ter. {enters l. 3.; throws down turkey). There's the 
burrud. 

Chi. That old thing ? Why, where' s the young lady and 
Harry ? 

Ter. They're comin'. 

Chi. Why didn't you stay and help him ? 

Ter. Oh, he's doin' quite well, I'm thinkin' ; he don't 
need any help. [Exit r. 3. 

Har. {enters l. 3, chatting pleasantly with Alice). Here 
we are, and the folks all at home. 

All Quite a rustic spot. 

Har. Allow me to introduce you, — Miss Wentworth, this 
is Mr. Whitsell and his daughter. (Alice bows.) 

Chi. Which one was it ? 

All Which one? I don't understand. 

Chi. Which leg did you sprain ? 

All {laughs). Neither, thank you. I saw Mr. Woodson 
coming. I intended stopping at your house, and, — oh, well, I 
knew how Mr. Sylvester would hurry to tell you I was coming, 
if he thought he could be of service to me. 

Syl. Ah, y-y-yes. 

Har. So you invented a sprained ankle. Mr. Sylvester 
hurried — met Terry here, and between them, you are prepared 
for an invalid. 

Whi. Reckon I'll take these things in the house? 

[Exit to cottage. 

Car. An' I don' tote back de cheer. 

Chi. No, mammy. Leave the chair for the lady. 

Car. Yes-sum. [Exit to cottage. 

Syl. G-g-good gracious ! I've lost my c-c-cigawette 
holder. 

Chi. What a pity. How you must suffer. 

Syl. Ah, y-y-yes. 



10 THE LITTLE BOSS. 

Chi. I will see no one suffer pain. I'll run down the path 
and look for it. \JBxit L. 3. 

Syl. If y-y-you don't o-o-object, Miss W-W-Wentworth, I'll 
g-g-go with her. 

All By all means do, Mr. Sylvester. 

Har. It must have been some distance down, Mr. Syl- 
vester. 

Syl. Ah, y-y-yes. \_Exit l. 3. 

All You don't know how glad I am to see you, Mr. 
Woodson. 

Har. Are you indeed glad ? 

(Lydecker and Moses appear at back.) 

All Now, ain't you mean ? To seem to doubt my sincerity ? 

Mo. Stranchers ! Holy Moses ! they're after the lant. 

Lyd. Shut up, you fool, and listen. 

Har. It's been some time since we met. 

All Yes, you cruel man, and you surely can't blame me 
for it. 

Har. Um — not exactly 

All I should think not. Well, then, who is at fault? 

Har. I can't say that any one is, but 

All Stop. I'll not listen. I know what you are going to 
say — that my good fortune and so forth — I know. Pshaw, 
Harry Woodson, to think that you would feel that my having 
fallen heir to a fortune would make any difference in me. 

Har. Well, you see, Miss Wentworth 

All Don't be so chillingly formal. It used to be Alice and 
Harry. 

Har. I know, but 

All Of course you do, and ought to be punished. Come, 
now, down on your knees and sue for pardon. 

Har. I am certainly sorry that 

All You made a goose of yourself? There, that settles it. 
Now, bring that chair — no, let's sit on this bench. (They sit 
with backs to Moses and Lydecker.) Now, tell me all about 
it. What are you doing here? When did you come? How 
long are you going to stay ? How have you been ? and 

Har. Wait — wait ! One thing at a time. 

All Well, sir, begin with number one. What are you 
doing here? 

Har. I think I can answer all of your questions in a few 



THE LITTLE BOSS. II 

words. I'm in the Secret Service. There is a bad gang of 
counterfeiters somewhere in these old Tennessee mountains, and 
I've been sent here to locate them. 

Mo. {starts to go). A dedecdive ! I'm hybnotiset. 

Lyd. {catches him). Stop, you d d idiot. 

All Rather a dangerous undertaking. 

Har. Yes. But then our business is always so. I've only 
been here a few days, and I think I've found 

Mo. Sufferin' Moses, he's caught us ! 

Lyd. If you don't shut up, Moses will suffer. 

All I thought I heard a noise ? 

Har. It was in the house, I think. But you haven't said 
a word why 1 find you here among the hills. 

All So I haven't, but being a woman, my curiosity had to 
be satisfied first, of course. Now for yours. You see riches 
bring troubles. I had some money and didn't know just what 
to do with it by way of investment. 

Har. You are quite a business woman now. 

All Indeed I am, and chuck full of speculation. My 
bankers couldn't advise me just what to do — so I took forty 
thousand dollars, turned it into drafts, packed my trunk, and 
came to Tennessee, as they say gold has been discovered here, 
and that money can be made in lands. 

Har. And you are prospecting? 

All Yes. Ain't it funny? I made up my mind to see 
for myself — act for myself — and if I saw a good chance, to buy 
for myself. 

Har. So here you are. 

All Here I am — all by myself, with good stout shoes — lots 
of determination, and drafts for forty thousand dollars sewed 
up in my corset. 

Lyd. Forty thousand dollars ! 

Mo. Isn't it peautiful? 

Har. And if you find the right lands, you'll be a Tennes- 
see real estate owner ? 

All That's it, exactly. {They rise.) 

Lyd. Forty thousand dollars in sight ! 

Mo. Isn't it peautiful, Jackie? 

[Moses ^;^Lydecker exeunt r. 3. 

Chi. {enters l. 3, laughing, followed by Sylvester). Well, 
if you had as much trouble walking as you do talking, you'd 
be a cinch in a running match. 

Syl. W-w-wouldn't I, though? 



12 THE LITTLE BOSS. 

Har. Did you find it ? 

Chi. Oh, no. Whoever thought you could ? 

All Oh, Mr. Woodson, I forgot to tell you, that Mr. Syl- 
vester is a friend of my father's. He is also looking for some 
mining property ; I met him, by accident, in Knoxville. 

Svl. Ah, y-y-yes. 

Chi. I don't want to be rude, but do, please, say "Ah, 
no," once in a while, for a change. 

Har. Well, as you are both looking for gold lands, I don't 
believe you will have to go far. This land right under our 
feet is said to be valuable. 

Chi. Who says so ? Humph ! Reckon they don't know. 
Why, it's nothing but rocks, and wouldn't raise punkin vines. 

Har. Probably not. But if what I hear is true, it will be 
worth a fortune to the man who owns it. 

Chi. Gosh ! That's good. Why dad can't even pay the 
interest on the mortgage. 

All And is it of value, really ? 

Har. Prospectors have been secretly at work here 

Chi. What's prospectors ? 

All Men who dig holes, here and there, to try to locate gold. 

Chi. Dig holes ? Now I know what them fellers was doin' 
down yonder, two weeks ago. I thought they was diggin' fish 
worms. 

Har. On your father's land ? 

Chi. Well, rather. But come down, I'll show you the place. 

Har. You may put your forty thousand right in the ground 
here. 

All Don't laugh. I'm in earnest. 

Har. And so am I. 

Chi. Come on, miss, and you, too, Harry. Excuse me, 
miss, for callin' him Harry, but I knowed him afore you did, I 
reckon. 

Har. Yes. We were neighbors years ago. 

Syl. Ah, y-y-yes. 

Chi. Say. If you do buy land, and settle round here, I'll 
move. 

{Picks up gun and exit l. ^followed by Harry, Alice, and 

Sylvester.) 

Lyd. {enters r. 3, followed by Moses). They're gone. 
There's no time to be lost, Mo. 

Mo. Ve musd sing the song quickly for Mr. Vitsell, ain't it ? 



THE LITTLE BOSS. 1 3 

Lyd. Yes, there is no question about it. There's a fortune 
buried in this farm. We will pay him a bonus to-day, and he 
can make the deeds to-morrow. See if he is at home. 

Mo. {crossing to cottage). Suffering Rebecca, isn't it peau- 
tiful ? {Knocks on door. ) 

Car. {comes to door). Howdy; no, we doan wan' ter buy 
nothin' ter-day, sah. 

Mo. She dinks I'm a beddler, ain't it? 

Lyd. Auntie, we want to see Mr. Whitsell. 

Car. Yas, sir. Won' yo' all done come in ? 

Mo. No, my goot laty, ve vill enchoy de sunshine. 

Car. Luk hyar? I'se decent cullud 'ooman, I is. Doan 
yo' go pokin' no fun at me. [Exit to cottage. 

Lyd. Now you keep your tongue between your teeth, and 
let me work him. 

Mo. Put subbose he von't sell? 

Lyd. He will, if we pay enough. 

Mo. Put vere is all de money ? 

Lyd. You have five hundred with you, you told me ? 

Mo. Yes. 

Lyd. That will bind the bargain. You can dig up some 
more, I know, if that ain't enough. Besides, you heard that 
girl say she had forty thousand dollars about her? 

Mo. Apout her, put nod apout us, Jackie, tear. 

Lyd. No, but it will be about us, if we need it. We must 
keep watch over that woman and her forty thousand dollars. 
Ssh ! here comes Whitsell. 

Whi. {enters from cottage). Good-day, neighbors. What 
kiu I do fer ye ? 

Mo. {aside). Oh, he's a bigeon. Isn't it peautiful? 

Lyd. I'm looking around for a piece of high land, for a 
consumptive brother of mine. Do you want to sell this place ? 

Whi. Wal, now — sometimes I reckon I do, an' then agin I 
reckon I don't. 

Lyd. How many acres have you ? 

Whi. Wal, — urn — thar's 'bout one hundred and sixty less 
a fraction, nigh as I can calc'late. 

Lyd. What's it worth ? 

Whi. Wal, — urn — that de-pends on what you want it fer. 

Mo. {aside). De chay von't sell. Ditn't I said it? 

Lyd. What is it worth to you ? 

Whi. Wal — I kinder reckon 'tain't wuth much nohow. 

Lyd. How much? Come on — what's your price? 



14 THE LITTLE BOSS. 

Whi. Wal, now, mister, I hain't got no price. Now ef 

Chippy wus here 

, Mo. (to Lydecker). Ton't vait for de girl, he'll nefer sell 
if you do. 

Lyd. Shut up. 

Mo. I'm a clam, ain't it? 

Whi. Or per'aps old mammy might have an idee. (At 
door of cottage. ,) Say, mammy ! 

Car. Wha' yo' all wan' wid mammy? 

Lyd. Mr. Whitsell said you were smart at figures, and 
might have an idea what this farm was worth. 

Car. 'Tain't wuth nuthin', dat's what 'tain't. 

Whi. Oh, yes, mammy, I calc'late 's wuth a little som'- 
thin'. 

Car. Who you all anyhow ? 'Sessor men what says erbout 
taxes ? 

Lyd. Oh, no. 

Car. Yas, yo' is. Dat's why yo' all wan' me to say 'bout 
de Ian'. 'Tain't wuf a cent. 

Whi. No, mammy, these men wanter buy the farm. 
Reckon we better wait fer Chippy ter come home. Come in 
an' set down. 

Lyd. I have an important engagement at the village, and 
must be going. 

Car. Yas, wha' you wan' ter wait fer dat chile fer? Wha' 
she know erbout Ian' anyhow ? 

Whi. Wal, mister, what'd ye calc'late ye'd pay ? That is, 
what'd ye take ef yew wus me ? 

Mo. (aside to Lydecker). Ovver him a huntert tollars. 

Lyd. I am willing to pay a fair price. What do you say 
to five thousand dollars ? 

Mo. (aside). Forty-nine huntert tollars drown avay for 
notting. 

Car. Whoo-e-e ! Dat's a heap o' money, hain't it? 

Whi. Yas' 'tis, but I reckon I won't sell the old place nohow. 

Mo. (aside to Lydecker). Vat dit I dold you ? 

Lyd. There's a mortgage on the place, isn't there? 

Whi. Tha's so. I didn't think o' that dad blamed old 
morgige, as has worritted the life outer me. Say? Wha' d'ye 
wan' this place fer, anyhow ? 

Lyd. For my consumptive brother, as I told you. 

Whi. Honest, is that all ? 

Lyd. That's all. 



THE LITTLE BOSS. 15 

Whi. Then -I calc'late, ef you'll give me four thousand 
dollars right in my hand, an' pay thet dern'd morgige fer a 
thousan', ye can have her. 

Car. Fer yer 'sumtive brudder ? 

Lyd. Yes, of course. I'll tell you what we'll do, we will 
pay you five hundred dollars now, and the balance to-morrow 
when the deed is signed. 

Whi. All right. She's yourn on the terms I said. 

{Laughter heard outside.') 

Lyd. (to Moses). Quick ! some one is coming. Give him 
five hundred. (Scribbles receipt in note book.) 

Mo. I'fe got de money here, all fresh from te pank. Oh, 
Mr. Lytecker, vy to you drow avay such goot money on your 
brother, who's as goot as det now. (Counting money to Whit- 
sell.) 

Lyd. Just sign this little receipt to bind the bargain. 

All (enters l. 3, followed by Harry and Sylvester ; they 
are all laughing). She's too much for you, Mr. Sylvester. 

Syl. Ah, y-y-yes. F-f-funny to see her r-r-run back to 
catch that c-c-calf. 

Har. Hope we don't intrude, Mr. Whitsell ? 

Whi. Oh, no. I've jus' bin sellin* my farm. 

Har. Selling your farm ? Impossible. 

Whi. Yas, sir, sold the farm outright. (Chippy appears 
at back). Whar's that bit o' paper ye wanted me ter sign ? 

Lyd. Here it is, and my pen. 

Chi. (rushing down between them). Hold on, dad. Who's 
sold the farm ? And who's bought it ? 

Whi. I sold it, Chippy, an' - 

Lyd. And I — John Lydecker — bought it. 

Chi. But you haven't got it, and you can't have it. 

Whi. But, Chippy, I've got this much money on it frum 
him. (Points to Moses.) 

Chi. (snatching money). Then give it back to him. 
{Throws money in Moses' face.) 

Mo. (scrambling for money). Put ve pought de lant — vair 
ant sqvare. Ve'll haf de law 

Chi. (cocking gun). Ye will, hey? Now you two make 
tracks, fer on this farm I am the law and the gospel too. 
(Presents gun.) 

CURTAIN. 



ACT II. 

SCENE. — Alice Wentworth's apartment at City Hotel, 
Pushville, Tenn. Plain Chamber in 3. Doors c. and R. 
and l. 2. Plain furniture. Supposed to be a sitting- 



Ann (discovered, putting room in order). I can't see, for 
the life of me, the good of living if you're poor. But I intend 
to live, and what's more, I don't intend to be poor. Look at this 
Miss Wentworth, with all her fine clothes — ain't I as good 
looking as she is? But then I am a chambermaid at the City- 
Hotel, and she's the fine lady, if you please. Humph. 

All (enters l. 2). Are you almost through, chamber- 
maid ? 

Ann. Yes, miss, entirely through. Is there anything else 
you want ? 

All Not now. I am going out presently, then you can 
tidy up my bedroom a bit. 

Ann. Yes, ma'am. (Aside.) I'm just as good as her any 
day. [Exit r. 2. 

All Now, for my letters. (Sits at table c. Knock c. d.) 
Come. 

Har. (opening door). It's rather early for a call, but this is 
purely one of business. 

All So you only come on. account of business ? Thank 
you, Sir Gallant. (Pises.) 

Har. No, it isn't that, but this is important. 

All And you don't consider a friendly call of any impor- 
tance? Come in. Let me take your hat. (Goes to him.) 

Har. Oh, no. I haven't a moment to stay. 

All Oh, yes you have, several of them. Now, come — 
be real nice, and sit down like a good fellow. What's on 
your mind ? 

Har. Lots. 

All Good. Now tell it all to me. 

Har. Everything ? 

All Yes, sir, everything. 

Har. I wish I could. 

16 



THE LITTLE BOSS. 1 7 

All That's a brave speech for a daring Secret Service man 
who hopes to win fame, catching bold, bad counterfeiters. 
Afraid of a woman. 

Har. Yes, I know, but you see men 

All Are easier to catch than women. (Laughs.) That's 
what you wanted to say. 

Har. Not exactly, but something like it. You see, a fel- 
low may be as brave as a lion among men, but frightened to 
death at a woman. 

All And I am a horrid bugaboo of a woman ? 

Har. Indeed you are. 

All What? 

Har. No, I don't mean that — I mean you are just the best 
woman I ever knew, and 

All Well? 

Har. Alice, did you really mean it yesterday, when you 
said you were glad to see me, and that money hadn't changed 
you? 

All (giving him her hand). You should know me better 
than to ask. 

Har. I'm so glad — you don't know how glad — for I really, 
and truly (Knock at door.) 

All Oh, pshaw ! Come. 

Ann (enter c. d. with card). The gentleman is waiting, 
ma'am. 

All Tell him I'm engaged. Do you know him, Harry? 
(Shows card. Ann bows and starts to exit.) 

Har. I think so. (To Ann.) Wait. (Aside to Alice.) 
I am very anxious to study this fellow. Let him come up — 
listen to him — humor him. 

All Certainly, if you wish it. (To Ann.) Show the 
gentleman up. 

Ann. Yes, ma'am. [Exit c. d. 

Har. I have every reason to suspect that this is one of 
my men. May I just step in that room, and close the door? 

All Certainly, but I warn you — the room is in fearful dis- 
order. (Knock c. d.) 

Har. Never mind the room. [Exit l. 2. 

All Come in. 

(Ann opens door, ushers in Moses and exit.) 
Mo. I drust I haf de distinguishet honor of powing low to 
the peautiful vasinating Miss Ventvorth ? 



1 8 THE LITTLE BOSS. 

All I am Miss Wentworth, sir. 

Mo. I'm hybnotiset vid telight, my tear Miss Ventvorth — 
I am, pelieve me. 

All Won't you be seated, sir? 

Mo. Oh, Miss Ventvorth, how could I pe so fulgar, as do 
zit in your bresence ? 

All You are Mr. Simons ? 

Mo. Moses Finklestein Simonts, commission proker, ant 
Infestor's Achent, my tear Miss Ventvorth — Infestor's Achent, 
Miss Ventvorth. Dot's vy I make my gall. 

All Indeed ? 

Mo. Yes, Miss Ventvorth. I haf hert you haf a vew 
huntert tollars to infest in lant. 

All (laughs). A few hundred ? Oh, if I can find the 
right lands, I'll invest several thousands. 

Mo. Dousands ? Oh, isn't it peautiful? To you vish farm 
lants or mining broberdies ? 

All Gold lands. And as I will pay cash 

Mo. Oh ! 

All Sir? 

Mo. Oxcuse me, my tear Miss Ventvorth, put I haf heart 
tisease. Oh, you will bay cash ? Isn't it peautiful ? I've just 
the blace you vant — just the blace, put it dakes a lot of money, 
Miss Ventvorth. 

All How much ? 

Mo. Oh, Miss Ventvorth, this is the richest golt lant in 
Dennessee, put dey vant so much money. Dink of it — forty 
dousant tollars ! Put id is vorth vifty dousant, my tear Miss 
Ventvorth, it is, pelieve me. 

All If the property is what you say, I'll look at it, and if 
I like it, buy it. 

Mo. Oxcuse me, Miss Ventvorth, oxcuse me — dot's vy I 
callt. Do ask you if you vould only look at the lant. (Takes 
out large pocketbook, lays it on table, after taking map out of 
it.) Isn't dot a peautiful map. Dot's de broberty. 

All I can't tell anything from a map. I'll look at the 
land itself. 

Mo. Ven vill you to it, my tear Miss Ventvorth, say ven, 
Miss Ventvorth? 

All To-day, this afternoon. 

Mo. Oh, Miss Ventvorth, I am so habby do pe your 
slafe. 

All I will call at your office. 



THE LITTLE BOSS. 1 9 

Mo. Oh, Miss Ventvorth. Oxcuse me. I'll sent a car- 
riage do de hodel for you, my tear Miss Ventvorth — say at dree 
o'glock? 

All That will be satisfactory. 

Mo. You sait cash money, Miss Ventvorth? Isn't id 
peautiful ? I bit you goot-morning, my tear Miss Ventvorth — 
goot-morning. {Botvs out c. d.) 

Har. {enters l. 2, imitating Moses). Isn't it peautiful? 
I notice he has left his pocketbook — pardon my professional 
curiosity. {Opens pocketbook, takes out notes?) I was right. 
Coney every one of them. That's one of my men. I'll just 
keep these as evidence. {Pockets notes.) 

All You don't mean ? 

Har. Yes, I do. That gentleman is one of my counter- 
feiters. I'll shadow him. 

All And he was so polite. Lucky I didn't go with him to 
look at the land. 

Har. Just the thing you must do, to help me. I must 
work up this case, and catch the others. 

All Do you really mean I must go with that horrid 
counterfeiter ? 

Har. I certainly do. But I don't like the idea of your 
making these tours alone, so I have taken it upon myself to 
hire a strong honest Irishman named Donovan — the one you 
met at Whitsell's yesterday — to accompany you. I will be too 
busy, and besides I mustn't appear too much in evidence. 

All Then I must really go ? 

Har. Yes. Donovan will be here, to report to you 
shortly. 

All You are very thoughtful, Harry. 

Har. No more than any man should be for — for 

All Yes ? 

Har. Say, I've got to go now. If I drop in to-night and 
finish what I was saying when your " Infestor's Achent " 
calied, {picks up his hat ; at C. d.) what do you think 
you would say ? 

All I don't think — I know. 

Har. You do? If I told you the whole story — then — 
you would say ? 

All Do you mean everything you have on your mind ? 

Har. Yes. 

All Then that would be my answer. {Kisses her hand to 
him ; runs off l. 2.) 



20 THE LITTLE BOSS. 

Har! Harry Woodson, you are the happiest man in the 
State of Tennessee this minute. [Exit c. d. 

All (enters l. 2 with hat and wrap). He's gone — the 
dear old boy. I don't care — I just couldn't help making him 
say it. (Rings bell on table. Ann, enters c. d). Ann, I 
am going out. If any one calls, say that I am out on business, 
and ask them to wait. [Exit c. d. 

Ann. If I only had her money. Oh, dear, it's a crime to 
be poor. (Knock at c. d. ; she opens it.) 

Ter. Good-morning to ye, miss. 

Ann. Well ? 

Ter. I'm the man, darlin'. 

Ann. I see you're a man. What of it ? 

Ter. Pfvvat of it? Didn't Mr. Woodson tell yees? 

Ann. I don't know such a person. 

Ter. Worse luck to ye. Do ye mane he didn't tell ye? 

Ann. I've told you I don't know him. 

Ter. Ye did. 

Ann. And I've been told nothing. 

Ter. Do ye b'long in the place? 

Ann. I do. 

Ter. Thin Miss Wintworth shud give ye warnin', fer yer 
timper. 

Ann. Miss Wentworth has nothing to do with me. 

Ter. She hasn't, now? Well! well! I was thinkin' ye 
was her gurrul, darlin'. 

Ann. Don't be so familiar. I belong in this hotel, and 
look after these rooms. 

Ter. Oh, ho ! That's the milk in the cocynut. Do ye 
mind spakin' wid Miss Wintworth, an' tellin' her Mr. Dono- 
van's come. 
. Ann. Miss Wentworth is out. 

Ter. She is, now ? 

Ann. She said if any one called, they could wait. 

Ter. I'll do it. (Starts to sit.) 

Ann. You can wait in the office downstairs. 

Ter. I can that same. Axin' yer pardin, Miss Stuck-up- 
in-the-air, or I kin wait in the road, or fly away to the moon — 
who knows ? [Exit c. d. 

Ann. Such impertinence, all because I am poor, and have 
to work. (Goes up to c. d., opens it and meets Lydecker.) 
Jack! 

Lyd. What are you doing here ? 



THE LITTLE BOSS. 21 

Ann. Oh, Jack, I couldn't help it. I had to work. 

Lyd. That don't answer my question. What are you 
doing here? 

Ann. Why, Jack, I told you I had to go out to work. 
You wouldn't give me any money, or help me. So I had to 
take this place as chambermaid in the hotel. 

Lyd. Do you work here now ? 

Ann. Yes. 

Lyd. Isn't this Miss Wentworth's room ? 

Ann. Oh, Jack, you haven't come to see her just because 
she's rich? 

Lyd. That's just why I have come. 

Ann. You don't love her, do you, Jack ? 

Lyd. Love her? Bah ! I don't love anybody. 

Ann. Not even me ? Oh, Jack, you said you did. 

Lyd. {laughs'). Oh, well, that was some time ago. Where's 
this Miss Wentworth ? 

Ann. (crying). She's gone out. 

Lyd. Has, hey? Then I'll go myself. Hold on — what 
did you say you did here ? 

Ann. I'm the chambermaid. 

Lyd. 'Tend to these rooms, do you? 

Ann. Yes. 

Lyd. Now stop your sniveling, and crying. I've got an 
idea. I was just bluffing to see if you really did love me. 

Ann. And you do care for me, Jack ? 

Lyd. Of course I do. I'll kiss you in a minute. Look 
here, how would you like a lot of money ? 

Ann. Better than anything but you, dear. 

Lyd. Then listen. This woman Wentworth has got a pile, 
and it's in cash, too. 

Ann. Yes, I know. I listened at the door, when Moses 
Simons was here. 

Lyd. Has that d d Sheeny been here ? 

Ann. Yes, just a little while ago. He is going to sell her 
some land, and she said she would pay cash for it. 

Lyd. D n him, he's trying to throw me; but I'll do 

him and her too. Where'd you say she'd gone? 

Ann. Gone out, but she said if any one called to see her, 
to tell them to wait. 

Lyd. Well, I want to see her, so I'll wait. Now I tell you 
— help me get hold of her money, and I don't mind giving 
you, say — a hundred dollars. 



22 THE LITTLE BOSS. 

Ann. What am I to do, Jack ? 

Ter. {outside). That's the dure, Miss , I'll not go 

in meself, I might meet that Miss Fly-away-high agin. 

Chi. All right, Terry. I'll have a shy at her myself. 

Lyd. Hush, some one is coming. Say nothing — the hun- 
dred's yours, if you help me. 

Chi. (at door). Hello ! I'm looking for Miss Went worth. 
I've been in half a dozen rooms down the hall. Gosh ! if it 
isn't the land buyer. 

Lyd. How do you do ? Fine day. 

Chi. Reckon it is. Haven't noticed. Been too denied 
mad. 

Lyd. Indeed? (To Ann.) You needn't wait; Miss 
Wentworth will soon be in, I'm certain. 

Ann. Thank you, sir. [Exit c. d. 

Chi. Hope she will. I'm just bilin' over. 

Lyd. I trust there's nothing serious, miss. 

Chi. Don't Miss me. I'm just Chip — Chip Whitsell — no 
account, just like my dad. 

Lyd. Ah, I remember you. 

Chi. Yes, and I remember you, too. Gosh ! but I'm mad. 

Lyd. Not at me, I hope ? 

Chi. No, not exactly ; but say, did you ever have a denied 
fool old dad ? 

Lyd. Why, I ' 

Chi. No, I suppose ye didn't. You're too smart to have a 
dad with no more sense than a grasshopper. 

Lyd. If you are angry about that land deal 

Chi. That's it. You hit the bull's eye square. 

Lyd. Oh, that's all over, you know. Of course, when I 
found you objected 

Chi. Oh, yes, I know — you pulled in your horns, that is 
what I call it. But dad's worse than ever. He's just pestered 
the life out o' me ever since yesterday. 

Lyd. That's too bad. 

Chi. Yes, sir. Bound to sell the land or bust.* Denied 
old woodchuck. I call him a woodchuck, mister, 'cause they 
got the least sense o' anything in the world. 

Lyd. You don't say? 

Chi. W r ell, he's just bustin' to sell the land, and wouldn't 
give me no rest 'til I come over to see Miss Wentworth, if 
she'd buy it. 

Lyd. Do you want to sell? 



THE 'LITTLE BOSS. 23 

Chi. Now don't you get frisky. You can't buy it with 
your measly old five thousand dollars. If the farm's got 
to go, I'll get money fer it, ye can bet yer eyelashes on 
that. 

Car. (outside). Whar' dat chile is? Good Lawd, diswurl 
done turn sum' set sence yisterday. 

Chi. Dern me, if mammy hasn't follered me. {Goes to 
c. D.) 

Car. (at c. d.). Dar yo' is. I don' knowed yo' was hyar 
'long this lane somewhar's. 

Chi. Come in here. What ever made you come trapseing 
along after me, anyway ? 

Car. (in door). 'Tain't no use to go an' git huffy at yo' po' 
ole mammy, dat's don' bring yo' up fum weenty-teenty little 
baby so big. Dat's what 'tain't. 

Chi. Who's huffy at you, mammy? I ain't, and you 
know it, but dad's such an all-fired e-diot. 

Car. Reckon dat's what he is, honey. 'Kase he don' 
pester de life outer me arter yo' go away. He say he mus' 
come, an' he say I mus' come wid um. 

Chi. I'm glad my dad ain't twins. 

Car. Yas, sir. An' he fuss an' fuss, an' bimeby I hat ter 
say I'd come wid 'im. 

Chi. Well, didn't he come ? 

Car. 'Cose he did. 

Chi. Where is he ? 

Car. He's down in de road. He say, mammy, yo' don' 
go fine her fus', an' jus' wodden' budge er step, but jus' stick 
to hit I mus' come in de hous' an' fine you. 

Chi. Just like a mule, mister. That's what he is. 

Car. He was wusser dan a mule, I tell ye. 

Chi. Well, go bring him up. We got to wait fer Miss 
Went worth, now we're here. 

Car. Yas-sum. \_Exit c. d. 

Lyd. It's a big job to sell a farm, ain't it ? 

Chi. No. Sellin' the farm's nothin'. It's havin' a daddy 
that bothers me. 

Car. (outside). She right down dis-away. 

Whi. (outside). Did she sell it yet ? 

Car. Doan' reckon she did. (Caroline and Whitsell at 
c. D.) 

Chi. Well, you're here ? 

Whi. Yes, Chippy. Hain't ye glad? 



24 THE LITTLE BOSS. 

Chi. Tickled to death. 

Whi. Why, Chippy, this is the man that wanted* ter buy 
the farm yisterday. Howdy, neighbor. Fine day. 

Lyd. {shakes hands). Yes, very fine. 

Chi. Well, sit down — all of you. We've got to wait. 
(All sit but Chippy.) 

Lyd. I suppose you have got your price fixed on the land ? 

Chi. Well, dad ain't exactly settled in his mind. Said to 
ask ten thousand dollars; if I couldn't get that, to take nine; 
if she wouldn't give that to take eight, and to let the thing go 
fer seven thousand dollars, if I couldn't get any more ; but I 
want to tell you right now. I've made up my mind that the 
farm don't go fer less than twenty-five thousand dollars, dad 
er no dad. 

Whi. Chippy's kinder good at figgers, neighbor. 

Lyd. So it seems. Here is a deck of cards. What do 
you say to a little social game while we are waiting ? 

Whi. Wal, I calc'late I hain't much at keerds. I play old 
sledge now an' then. An' me an' Chippy plays muggins, an' 
now an' agin a game o' euchre. 

Lyd. Then we'll have a little game of euchre. Cut for 
deal. {They play cards.) 

Ann {shows Sylvester to door). This is her room, sir. 

Chi. There's " Ah, y-y-yes," by Jimminy. Howdy? 

Syl. Why h-h-how are you ? D-d-d-d 

Chi. Delighted to see me. I know. 

Syl. Ah, y-y-yes. 

Chi. Say, don't begin that again, or I'll have a fit. I'm 
half wild, now. 

Syl. Ah, n-n-no. 

Chi. {grabs his hand). Good, you've changed your luck ; 
thank you, that's great. 

Syl. Ah, y-y-yes. 

Whi. Jerusha ! When I was in the army and played 
poker 

Lyd. Then you do play poker ? 

Whi. Use ter, some. 

Syl. I was 1-1-looking for Miss W-W-Wentworth. 

Chi. Needn't look. She's out. 

Syl. Ah ! 

Chi. Don't say it, I'll go on. She will be back after while. 
Any one that calls is to wait — you called — you wait. 

Syl. D-d-delighted to w-w-wait with y-y-ou. 



THE LITTLE BOSS. 25 

Chi. Say, if you'll promise not to talk — tell you what I'll 
do. I'll sing you a song. 

{Specialty.') 

Lyd. That was excellent. 

Syl. Ah, y-y-yes. 

Car. Lawdy ! but I'se gettin' tired. {Dozes off.) 

Whi. Jemimah ! If we wus playin' poker, now, I'd bet 
my pile on that hand. 

Lyd. I don't believe you would dare. 

Whi. Ye don't, hey? By gum, there's two dollars I've 
got the best poker hand. 

Lyd. (takes out roll of counterfeit bills). There's ten bet- 
ter you haven't. 

Whi. That don't skeer me, neighbor. Not a bit. ( Goes 
in pocket and takes out ba% of coin.) There's yer ten, an' 
there's a twenty dollar gold piece I hev got the best hand. 
Do ye flop ? 

Lyd. Hardly. (During the above he has slipped two cards 
from his sleeve, and discarded two.) I like a little excite- 
ment. I'll raise ye a hundred — yes, I'll try your nerve — I'll 
make it two hundred. (Chip and Sylvester at back of table.) 

Chi. Don't you take a bluff, daddy. We didn't come here 
fer this, but don't take water. 

Whi. I hain't got no more money about me. 

Chi. Good Lord ! You've got to lay down. 

Lyd. Then I'll take the money. 

Syl. W-w-wait. I g-g-got two hundred dollars. (Hands 
money.) S-s-see what he's g-g-got. 

Chi. Stay with him, daddy. Don't lay down, or I don't 
sell the farm. 

Whi. There's your two hundred, and I'll bet the farm at a 
thousand 

Lyd. There's an even thousand dollars in that package. 
What have you got ? 

Whi. Three aces. 

Lyd. Sorry for you. There's three kings and a pair of 
fives — I win fairly. 

Chi. Oh, no, you don't. 

Lyd. Who says' so ? Why ? 

Chi. ( two revolvers on him). I do — 'cause dad's got a pair 
o' sixes besides. 

CURTAIN. 



ACT III. 
SCENE i. — Landscape in i. 

Ter. {enters R.). Be the powers, Terry, ye are a man ov 
importince. If ye kape on ye' 11 be prisident of these United 
States of America, wan of these fine days, and it's a fine prisi- 
dent ye'll be makin'. (Struts about. .) Sure, I'd say to thim 
sinitors, " Here, now, make thim laws up, an' don't be soldierin' 
at yer work ; don't ye see I'm lukin' at ye ? " 

Chi. {enters l.). Hello, Terry, have you seen Harry Wood- 
son? 

Ter. Have I seen Mr. Woodson ? I have that. 

Chi. When ? Where ? Tell me quick ; I must find him. 

Ter. Which do ye want to know first ? When I saw Mr. 
W T oodson, or where I saw the gentleman ? 

Chi. Both. Be quick, can't you ? 

Ter. I can. Sure there's not a man in the county can be 
quicker than I can. 

Chi. Will you tell me what I ask you ? 

Ter. I will, indade. Have I refused to do it ? 

Chi. No. 

Ter. Thin I'll tell ye. 

Chi. Be quick about it. I am in an awful hurry. 

Ter. And ain't I that same? Let me see, ye axed me had 
I seen Mr. Woodson. I have. 

Chi. When ? 

Ter. Yisterday mornin', at yure house. 

Chi. Terry, you're an e-diot. 

Ter. I am ? 

Chi. Yes, you are. Don't you suppose I knew all the 
time you saw him yesterday ? 

Ter. Uv coorse I do, but I thought ye wanted to prove it by 
me. There, I can't be palaverin' wid ye, I must run along. 
Miss Wintworth '11 be lukin' fer me. Do ye remimber owld 
Sammy Miggles, that lived alone, down by Bryan's Rock ? 

Chi. Yes, I know him well. 

Ter. Well, ye won't know him long, thin, unless ye go to 
the other wurruld. 

Chi. Is he dead ? 

26 



THE LITTLE BOSS. 27 

Ter. No, but he's awful sick. Good-bye — I'm off. 

Chi. If you see Harry Woodson 

Ter. I suppose I'll get abused fer tellin' ye about it. 

[Exit l. 

Chi. Now, I don't know what to do. That land buyer 
got out so quicv he forgot some of his money this morning, 
and I just picked it up, but I don't want to keep it unless I 
won it fair. Dad he reckons he don't know 'bout it. Mammy 
she was asleep, and the day of judgment would get round be- 
fore that stutterin' feller could tell what he thinks. I got to 
see Harry Woodson. (Starts r.; meets Harry.) 

Har. {enters r.). Ah, Chip, you seem in a hurry? 

Chi. Say, where did you come from ? I've been looking 
all over for you. 

Har. I just come 

Chi. Never mind — that's all right. You're here, that's all 
I want to know. Say, if you was playin' a game of poker 

Har. But I never play poker. 

Chi. I didn't say you did, smarty ! I said if you was 
playin' a game of poker, and the other feller sneaked two 
cards out of his sleeve, and didn't have as good a hand as you 
did until he sneaked them cards, what would you do ? 

Har. I should object 

Chi. That ain't what I mean. Any old fool would object. 
What would you do about the money ? 

Har. That depends. 

Chi. Look here ! See that money. {Shows bills.') 

Har. {looking at bills'). Is this the money you are talking 
about ? 

Chi. That's it. 

Har. Then I shouldn't worry about it a minute. It isn't 
worth it. 

Chi. I don't see why ? I want to know whether I shall 
keep it ? 

Har. No. 

Chi. Why not ? 

Har. Because it's counterfeit. Where did you get it ? 

Chi. That settles it. Dad's a bigger fool than I thought. 

Har. He hasn't been dealing in this stuff? 

Chi. Lord, no ! But he just put up his farm agin it in a 
gnme of draw. Bettin' the farm agin counterfeit money ! 
Say, if we don't sell that farm, we'll be in jail, or mebbe get 
hung. 



28 THE LITTLE BOSS. 

Har. Where did you get this? 

Chi. Didn't I just tell you? Dad bet the farm agin it 
with that land buyer, that was at our house yesterday. 

Har. John Lydecker? 

Chi. That's the man. 

Har. Then I am right. Chip, you must help me. 

Chi. Lick that fool dad o' mine ? 

Har. No, catch these counterfeiters. Listen. I have 
found out they have a meeting place down near Bryan's Rock. 
An old fellow named Higgles has charge of it. I've evidence 
enough now to arrest both Lydecker and Simons, but I want 
to catch them at work, and get the plates. 

Chi. Old Higgles don't eat off plates — he's too stingy; he 
uses tin pans — they won't break. 

Har. No, you do not understand. 

Chi. I know dad bet the farm, anyhow. 

Har. That's all right, but I want the plates these notes 
were made from. Come, you must go down to that place with 
me. 

Chi. Want me to go with you down to old Higgleses ? 

Har. Yes, and we must be cautious, not to be recognized. 

Chi. Why old Sammy Higgles 'd know me in a minute. 
There ain't a girl round here he knows any better than me. 

Har. I have it. He knows you as a girl, but not as a boy. 
You shall go as a boy. 

Chi. What, me? Well, I suppose it's all right, but I 
have no — no (Points to legs.) 

Har. Never mind the clothes. I'll fix all that. Come. 
(Starts l.) 

Chi. All right. I'll help you get their plates, or cups and 
saucers, or anything, but, don't you say a word to dad, 'cause 
he don't know enough to water a goose. \_They exeunt l. 

SCENE 2. — Dark wood hi 4. Hut rou^h, but strong look- 
ing, half across stage 2 to 3. Door in hut r. with prac- 
tical lock. Side of hut to audience to be painted scrim. 

Lyd. {enters l. i). I'll bring that Hebrew to terms, or my 
name's not Black Jack. Oh, ho ! I thought my message 
would fetch him. (Hoses enters l. 3.) Well? 

Ho. Ah, Jackie tear, you see how qvkk I come, ain't it? 
Ant I hat an encagement vith a laty, doo. 

Lyd. What an infernally gay dog you are. 

Mo. Ain't I peautiful ? Put Jackie, dis vas pisness. 



THE LITTLE BOSS. 20, 

Lyd. Am I in on it ? 

Mo. Vy, Jackie, tear poy, how can you tout me? Id 
preaks my heart. 

Lyd. Stop your cant. You deal squarely with me, and 
don't try any side cuts, or I'll do worse than break your heart 
—I'll break your head. 

Mo. Vy, Jackie, you hybnodise me. Vat to you mean ? 

Lyd. What have you been trying to do on the sly with 
this Wentworth woman ? 

Mo. No, not on the sly, Jackie. Tidn't I dold you, I hat 
an encagement? Tidn't I hurry here do dell you all apout 
id ? How can you pe so gruel, ven you know I haf heart tis- 
ease? 

Lyd. Well, what's the game ? I guess you are trying to 
do the right thing. 

Mo. Dot's peautiful of you, Jackie, peautiful. I've vixed 
an eighteen carat, all-vool-ant-a-yart-vite scheme. Oh, it's 
peautiful. 

Lyd. Out with it. 

Mo. {takes out letter, fancy colored stationery). See dot, 
Jackie, ain't id peautiful ? Smell id, Jackie, aind dot a peau- 
tiful liddle ledder, such a berfume. 

Lyd. What d d nonsense is this? What do I want to 

go smelling letters for? I've no time for such idiocy. 

Mo. Oh, Jackie, ton't say dot. {Goes to hut and looks 
about.) Dake another smell, Jackie. Oh, id's peautiful — 
dere's an odor of forty thousand dollars apout id. 

Lyd. What do you mean ? 

Mo. Tidn't I said id? Miss Ventvorth, the sharming 
peautiful younk vooman — oxcuse me, Jackie, younk laty. 

Lyd. Well, what of her? 

Mo. Vait, Jackie. {Smells letter.) Oh id's such a peau- 
tiful itea. 

Lyd. {catching him by collar). If you don't stop this mon- 
key business, and tell me what you mean, I'll shake your 
clothes off. 

Mo. Ton't to id, Jackie — ton't to id. Dis suit cost me three 
forty-nine ad a fire sale. Ton't shake so hart, you gif me a 
shill. 

Lyd. Then talk sense. What do you mean ? 

Mo. Veil, in the first blace, ve vill divite de forty thousand 
dollars equally, Jackie, after my oxbenses are baid, ain't id ? 

Lyd. Expenses ? 



30 THE LITTLE BOSS. 

Mo. Yes, Jackie. I hat do puy dis new suit, tidn»'t I dold 
you, do gall on Miss Ventvorth ; then I'fe baid for a carritche. 

Lyd. All right. Go on. 

Mo. Miss Ventvorth is lofely — such a vine younk laty. 
She is do co vith me do look ad some iant do-day. Ain't id 
peautiful ? 

Lyd. I begin to see. You get her in a nice lonely place, 
and then you'll rob her of the forty thousand dollars. 

Mo. Oh, ton't say you'll, Jackie — say ve'll. Ve'll, nod 
you'll, Jackie. Say veil oxchanche some goot adfise for de 
fordy dousand. 

Lyd. But what has that letter to do with it ? 

Mo. Ah, dot is a node from de peautiful Miss Ventvorth 
saying, vould I sent de carritche ad vour o'glock instead of 
dree. [Shows note.} See her peautiful name? 

Lyd. {looks at note). "Yours, Alice Wentworth." I'll 
keep this for the present. {Pockets note.') Now, what's the 
scheme ? 

Mo. A peautiful itea, Jackie — so peautiful. Ve ged de 
younk laty town here, do dis nice quiet blace. De younk laty 
vaints, mebbe, ven ve vant her peautiful money. Den ve bud 
her quiedly in dis nice liddle house, ve light a liddle vuse, dot 
runs do a keg o' powder in de house. 

Lyd. But there isn't any powder or fuse here? 

Mo. Dot's gospel druth, so helb me. Put, Jackie, tear, 
dere's lods in de Rock canyon bowder house, ain't id? 

Lyd. That's so. I never thought of that. 

Mo. De liddle vuse is lighded — ve dake a quick valk — de 
younk laty vont know anything apout id — viss — viss goes de 
vuse, den pang goes der bowder, antvere'sde effidenceacains't 
us? Isn't id peautiful — de boor younk laty gommitted suicide. 
{Cries.) 

Lyd. What are you crying for? 

Mo. I'm crying to think she should have killed herself. 

Lyd. Mo, you're all right. I didn't think you had the 
nerve to commit murder. 

Mo. Oh ! Oh ! 

Lyd. What's the matter? 

Mo. Ton't say murter, Jackie, ton't. I'fe god heart tis- 
ease. Id isn't murter do lide a liddle pit of a vuse, ant valk 
avay is id ? 

Lyd. Oh, no. But come, we are fooling away our time. 
Stop, old Miggles may give us some trouble. 



THE LITTLE BOSS. 3 1 

Mo. Oh, no, Jackie, he's sick. He sent me de key do de 
hud. I'll unlock id. (Goes to hut.) Ve musd leaf id oben, 
so de peautiful younk laty vont susbect. 

Lyd. Moses, you're a wonder. You get the girl, and I'll 
get the powder and fuse. But how do I get in the powder 
house ? 

Mo. De key is unter de steb, Jackie. Unter de bowder 
house steb. I saw de man locking id yesterday. 

Lyd. All right, I'll get the powder and fuse. This is a 
big trick, Mo, if we can only turn it. But are you sure she 
has the money ? 

Mo. Tidn't you heart her sait yesterday, she hat id sewt 
ub in her gorsed ? Oh, isn't id peautiful ? 

Lyd. Then everything is understood ? 

Mo. I'me do meed de peautiful younk laty ad Villed's 
cross roads. 

Lyd. I'll be waiting for you, when you get here, with 
everything prepared for business. \_Exit r. 3. 

Mo. Now, I'll co for de peautiful younk laty. 

[Exit l. 3. 

Har. {enters r. 2, with Chip who is in boy's clothes). 
Ah, ha ! They are up to some mischief. We are just in time. 

Chi. Gosh ! I think we're just too late. They're both gone. 

Har. Patience, my dear girl. Patience. We must watch 
them. You say that's the shanty ? 

Chi. That's it, and I'll bet a dollar that's where they hatch 
up all their devilment. 

Har. Then that's our trap. They will come back, and 
we must catch them red-handed and 'at work, mind. 

Chi. Right smack in the house, hey, grindin' out this kind 
o' money? (Shows bills.) 

Har. That's the idea ; but we will need help. Donovan is 
big and strong — find him, and bring him here. I'll follow 
this fellow, and see what he is up to. (Points r.) But re- 
member, we must catch them in the house, and at work, to 
make sure of the plates. 

Chi. All right, I'll remember. And when we do catch 
them, we'll break up their whole chiny closet. Got a gun ? 

Har. I am always armed, but you? 

Chi. Ain't heeled ? Now, what do you take me for ? 
Didn't I tell you I'd been selling our farm? 

Har. (laughs). So you did. Remember, catch them in 
the house at work. {Exit r. 3. 



32 THE LITTLE BOSS. 

Chi. I'm a regular sure enough detective. This, beats 
sellin' a farm, but I can't boss this job like I can that one. 
Oh, well, here goes for Donovan. Then to catch the counter- 
feiter men, and their dishes. \_Exit l. i. 

Svl. {enters l. 3 with Whitsell, both made up as near like 
Moses and Lydecker as possible). D-d-deuced lonesome 
p-p-place. 

Whi. I calc'late 'tis a little sorter quiet like. Hope 
mammy don't tell Chippy that I sent her home, an' come off 
with you, er Chippy'd be follerin' me up. 

Syl. She's d-d-deuced s-s-smart. 

Whi. Who, mammy? No, she hain't. 

Syl. N-n-no, your d-d-daughter. 

Whi. Oh, Chippy ? Reckon she is, but then she com' by 
it hones'ly. I hain't no slouch meself when it comes to smart. 

Syl. Ah, y-y-yes. 

Whi. An' Tm ded set ter ketch that ar land man. 

Syl. You're s-s-sure this is the p-p-place? 

Whi. Wal, I calc'late I've seen him roun' hyar. Let's 
look in the house. Dern him, I'd jus' like ter take a fall outer 
that feller, an' his bogus money. {Starts to hut.) 

Syl. W-w-wait. Are y-y-you armed ? 

Whi. Me ? No, are you ? 

Syl. N-n-o. Besides it's t-t-too 1-1-light yet. W-w-wait 
'til it gets darker. 

Whi. That's a derned good idee, mister, not thet I'm 
afeered. I'd face a regiment if they all had guns. No livin' 
bein' could make me knuckle. 

Syl. I k-k-know you're a b-b-brave man. B-b-but don't 
let's r-r-run any r-risks. 

Whi. Calc'late yer right, but jus' let me get er sight o' one 
uv them bogus 'bill men. I'll show them what fight is, by 
gum. 

Syl. {pointing r. ). W-w-where does that p-p-path lead 
to? 

Whi. That goes down t'ward Si Pilchard's hill paster. 

Syl. L-1-let's look the g-g-ground over. 

Whi. All right. Come on. ( Crosses.) But I'm jus' 
akin' ter ketch up with one uv them fellers in that shack over 
there. {They exeunt r. i ; stage grows gradually dark. 

All {enters l. 3, followed by Moses). I'm afraid we started 
too late, Mr. Simons. It's growing dark. 

Mo. Dot's only a clout ofer de sun, my tear Miss Vent- 



THE LITTLE BOSS. 33 

vorth, only a clout. {Aside.) I vonder has Jackie got de 
bovvder ? 

All Rather a heavy cloud. However, you said this was 
part of the land ? ( Crosses to r.) 

Mo. Yes, Miss Ventvorth, isn't it peautiful, an' joost town 
de; e (pointing r. 3), is vere dey mate deir virst obening on 
der broberdy. 

All Yes, I see some little mounds of earth, just below. 

Mo. Aind dey peautiful, Miss Ventvorth, led me show 
you. [They exeunt r. 3. 

Lyd. (e filers r. 2 with powder keg and fuse ; watching off 
r. 3). He's caught the bird. (Laughs.) I might say the 
golden bird. Now to hide this material, and wait develop- 
ments. (Crosses up behind hut.) 

All (enters r. 3, followed by Moses). It's all very nice, 
Mr. Simons 

Mo. Aind id peautiful, Miss Ventvorth ? 

All But this is a transaction involving considerable money. 
I can't decide hastily — to-morrow. 

Mo. Oh, Miss Ventvorth. Ton't drow avay sooch a peau- 
tiful shance. 

All I certainly shall not, but it's rapidly growing dark. I 
will return to the carriage, and think the matter over to-night. 

Mo. (aside). She's running avay vid our money. (Sees 
Lydecker, who motions him from behind hut.) Put ve musd 
seddle dis pisnis do-night. 

All I can see no hurry. Besides it's growing late — the 
place is dark and lonesome. 

Mo. .Put see vat a peautiful cane I haf, Miss Ventvorth. I 
will brodecd you. 

All I can protect myself, thank you. Come. 

Mo. You mustn't go ? my tear Miss Ventvorth. 

All (turns to him quickly). And why not ? 

Lyd. (seizing her from behind). Because you have money 
and we want it. 

All (screams). Help ! Help ! Thieves ! 

Lyd. (hand over her mouth ; she struggles). Stop that 
d d noise, you infernal cat ! Lay hold there, Mo. 

Mo. (with bottle and handkerchief ). Oh, you don't know 
how she kicks, Jackie. There ! (Slaps handkerchief over 
Alice's face ; she gradually sinks to ground.) A liddle 
chloroform, Jackie, is so soothing do a female vooman. Isn't 
id peautiful ? 



34 THE LITTLE BOSS. 

Lyd. The powder and fuse are there behind the hutr Fix 
them quick, while I look after the money. 

{Stoops over Alice ; fumbles with dress.') 

Mo. I ton't abbrofe of laties using bowder, except in a gase 
like dot. {Crosses behind hut.) 

Lyd. The devil. A woman can hide a thing in her clothes 
to defy — ah, here we are. {Pulls out drafts.) One — two- 
three 

Har. {enters l. 3, hurriedly). I thought I heard a woman 
scream. Ah, ha ! 

{Down quickly behind Lydecker.) 

Lyd. Quite a neat haul. {Pockets drafts.) Quite neat. 

Har. {revolver in his face). Ain't it? 

Lyd. Hell ! 

Mo. {sneaks round to front of hut). De dedecdife, an' I 
can't run avay. 

Har. You miserable cur. 

Lyd. My sister has fainted. 

Har. Your sister, hey ? Throw up your hands. I want 
you, Mr. John Lydecker. 

Lyd. {throwing tip hands). This is tough. To be robbed, 
just as your sister has fainted. 

Har. I'll attend to your sister. {Snaps handcujf on Ly- 
decker' s right wrist ; as he does so Alice groans ; he turns 
quickly, kneels over her. ) My God ! It's Alice ! Alice ! 
Alice, dear ! Speak to me — it's Harry ! 

Mo. {has sneaked from behind house up behind Harry ; 
hits him on head with cane. Harry starts up, drops pistol ; 
Moses hits him again ; he falls, fust as Lydecker is about to 
strike him with the handcuff.) Ton't hid a man ven he's 
town, Jackie — vight vair alvays. 

Lyd. By God, that was a narrow escape. That fell5w is 
on to us — he has followed us to the place yonder. 

Mo. Led's bud dem poth in de hud — den vizz ! poom ! 
Ah ! Jackie. 

Lyd. It won't do. He evidently had his plans laid to 
pinch us. This place is under suspicion. 

Mo. Ve can't leaf de peautiful younk laty ant her loffer 
here? 

Lyd. No — the Rock Canyon powder house ! There's 



THE LITTLE BOSS. 35 

enough powder there to blow them into atoms. [Picks up 
Harry.) Quick, I can manage him, you take the woman. 

( Goes off r. 3 with Harry. ) 

Mo. {picks up revolver). I'fe captured the pattery. (Picks 
up Alice.) Pe sure you ton't loose any of te money, Jackie. 
Oh isn't id peautiful? [Exit r. 3, with Alice. 

Chi. (enters l. 3 followed by TERRy ; stage quite dark). 
Now you understand, Terry. There may be a fight. . Here, 
take this gun. 

Ter. (speaking loudly). An Irishman's better in a fight wid 
his fists. 

Chi. Sh ! sh ! Don't talk so loud. They may be in the 
house now. Let's look. 

(Sneaks down to door.) 

Ter. Are they there, darlin' ? 

Chi. No, but the door's open. They're round here some- 
where. Duck down there in the dark, that side of the house. 
I'll scrooch up here. 

Ter. I'm wid ye. 

Chi. Keep yer eye peeled, and yer ears open. S-sh ! 
there's some one now. Lay low. Gosh, we'll get 'em before 
Harry gets back. 

(Whitsell and Sylvester enter r. 3, sneak cautiously down 
to door of hut without a word ; as they do so, Terry from 
l. side of hut and Chip from r., crazvl round hut on 
hands and knees, coming to door Just after Whitsell and 
Sylvester have entered.) 

Whi. (in hut ; in muffled voice). Light! 

(Sylvester strikes match and lights candle ; they both grope 
about the floor of hut. ) 

Chi. (at door). That's them. We've got 'em ! Where the 
dickens is Harry ? 

Ter. I can't be sayin'. 

Whi. (makes noise of plates rattling together). Hist? 

(Sylvester goes to Whitsell.) 

Chi. (as plates rattle). Plates ! by thunder ! It's them, 
an' the trail's hot. Je-whillikins ! we can't wait all day for 
Harry ! What' 11 we do ? 



36 THE LITTLE BOSS. 

Ter. I'll run an' find him. 

Chi. You're an e-diot. Now's the time to catch them, an* 
get dishes an' all. 

Ter. Le's lock the dure. 

Chi. Not by a denied sight. Harry said we must catch 
'em red handed, an' I'm going to do it. Come on. (She 
strikes against door.) Ouch ! 

Whi. Hist ! 

(Sylvester blows out light.) 

Chi. Now you take the farthest one over, when I throw 
open the door. I'll grab the other feller. Got the lantern I 
give ye? 

Ter. I have, an' the rewolwer. 

Chi. Then come. 

(She dashes in, seizes Whitsell, who wilts. Terry catches 
Sylvester, who also wilts. As the rush is made, Terry 
fires the revolver two or three times ; there is a hurried 
scramble, Chip drags Whitsell through the door to c. 
folloived by Terry with Sylvester. ) 

Chi. (in assumed voice). Throw up your hands ! 

(Whitsell at r., throivs up hands. Sylvester on knees l.) 

Ter. We got 'em. 

{Flashes lanter?i in Whitsell' s/ace; lights up.) 

Chi. Good Lord ! I've arrested dad. 



CURTAIN. 



ACT IV. 

SCENE. — John Lydecker's room in 3 ; c. n.and doors R. and 
l. 2, chairs, table, etc. Fancy box lounge at l. c. with 
large rug thrown over it. Screen about six feet high at l. 
of c. D. 

Lyd. (discovered). That wasn't a bad bit of work. 
Heavens ! what an explosion that powder house made last 
night. It's roused the neighborhood, and the whole town's 
gone out to-day to look at the ruins. Humph ! I don't think 
they will find enough of that woman, and the clever Secret 
Service man, to give an excuse for a funeral. (Moses enters 
c. d.) Now (lights cigar) I'll just practice a little on the 
charming Miss Wentvvorth's signature — put it on the back of 
these — (takes out drafts) — get them cashed and 

Mo. (over his shoulder). Ve'll divite the poodle, aind it, 
Jackie ? 

Lyd. The devil ! 

Mo. No, Jackie, it's me, your peautiful bardner, hey ? 

Lyd. Yes, you are a beautiful partner. 

Mo. Aind I? Co on vid your writing, Jackie. Co on. 
You are sooch a peautiful writer. Ant de peautiful money — 
ven to ve ged de peautiful money ? 

Lyd. You're in a devil of a hurry. ( Writing.) 

Mo. Can you plame me, Jackie? Tidn't I earned id? 

Lyd. Perhaps. But we haven't got it yet. I've been 
waiting for the bank to open. What time is it ? 

Mo. Nine o'clock. 

Lyd. Well, I'll just take these down to the Merchants' 
Bank, and see if I can negotiate them. (Rises.) You wait 
until I get back. 

Mo. Hattent I petter co vith you, Jackie. Some pat dief 
might rop you of de peautiful money. 

Lyd. D n it ! Don't you trust me? 

Mo. Oh, Jackie. How can you say id ? I only vant do 
brodecd de peautiful money. 

Lyd. Yes, I know. Getting leery you won't get your bit. 
(Aside.) You're lucky if you do. 

Mo. Vat vas id, Jackie ? 

37 



38 THE LITTLE BOSS. 

Lyd. Oh, nothing. I said that's just like a Jew. * Come 
on. 

Mo. Pe gareful vid de peautiful trafts. [They exeunt c. d. 

Ann {enters l. 2, hat and wrap on). His room is all in 
confusion — everything packed up, and his trunk locked. This 
looks suspicious, Mr. John Lydecker. Going to give me the 
slip again, after promising, only last night, that you would 
marry me right away, and settle down here comfortably. He's 
up to some of his tricks ! I'll go out the back way and watch 

him, and if he tries to shake me again Humph ! Well, 

he better not, that's all. [Exit l. 2. 

Whi. {at c. d., slightly drunk). I calc'late they may all 
say what they like, but I'm after thet denied skunk of a bcgus 
man, an' when I git after a thing, it ginerally comes, right 
frum th' roots. This here's his room, but he hain't here. 
Don't make no difference, I'm jest goin' ter hunker down here, 
an' wait fer him ; an' when he comes, I'll give him the dad- 
burnedest lickin' he ever had ; then I'll make him shell out 
Miss Wentworth's money. Purty fine sort o' place. Won- 
der where he keeps that counterfeit money? 'Tain't on the 
table, ner under the table, ner — {at couch) bet he's got it stuffed 
away in thet sofy. {Pokes about couch.) 'Tain't there. I'll 
jest turn the derned thing over. {Goes to lift couch ; raises 
lid.) Wal-b'gosh, it's a box. Who'd a thought it. 

Chi. {outside). You're puffin' like a porpoise, mammy. 

Whi. Halle-lujah ! There's Chippy. She'll skin me 
erlive fer drinkin'. I'll skedaddle. {Starts.) Dern it all ! I 
don't kno' whar to go. I kno' what'll do — I'll git in the sofy. 
( Gets into couch, and closes lid. ) 

Chi. {enters, followed by Alice). This is the place, but 
he's gone — jumped the game. 

All I don't think so. He does not suspect that I am 
alive, and well — thanks to you. 

Car. {enters c. d., puffing). Land-ee ! Dem's de stepes' 
steps I evah did see^ in all mah life. I'se tired as a dog. 
{Sinks on couch.) 

Chi. Too bad, mammy, but you would come. 

Car. 'Deed I hain't goin' ter stay at home 'lone no mo', 
when all de fussin's goin' on. No, in-deedy ! 

All That's right, Mammy Caroline. 

Car. [rises). Cose hit is. Luk hyar, wha' yo' think I 
goin' ter do, ef anythin' happen ter dat chile? (Whitsell 
raises lid of couch slightly.) 



THE LITTLE BOSS. 39 

Chi. Oh, I'm all right, mammy. Sit down, and rest. 

Car. {flops on couch). 'Deed I will. I jus' set hyar 'til 
Gabrul blows de hawn, 'fore I leaves yo' all. 

All Chip, you are quite a heroine. How did you happen 
at the powder house so opportunely last night? 

Chi. Oh, easy enough. I told you 'bout 'restin' dad. 
Terry he found a keg o' powder behind the shed that was from 
the Rock Canyon powder house, and we found blood on the 
ground from the cut in Harry's head. Well, sir, you never 
heard that stutterin' feller talk so fast. He said p-p-p-pow- 
p-p-pow, and by that time I caught the idea. We followed 
the trail of blood — 'tain't fer, ye know. 

All I don't remember anything. I was insensible. 

Chi. That's so. Well, we got to the powder house. The 
door wasn't locked. I busted in an' fell over you, fust thing. 
Terry an' me carried you out, an' dad and Mr. Ah, y-y-yes 
dragged out Harry. Dad was yellin' like mad to run — the 
house was afire. I jus' kinder took a peek over my shoulder, 
an' there was a fuse at the corner of the house, spittin' an' 
sputterin' like blazes. I took another grip on your legs — you 
know I was totin' yer legs — and yelled to Terry to hustle, and 
just as we all got behind Crazy Horse boulder, there was the 
all-firedest explosion ye ever heard. 

All It must have been awful. 

Chi. Awful? Why there ain't enough of that powder 
house left to make a tooth pick for dad — and he don't use 
tooth picks. Harry did take on awful, 'til you come round. 
Guess he's spooney on you. 

All Oh, Chip, don't use such an expression. 

Chi. Well, I don't care what you call it. I can see 
through a mill stone. You're in love with Harry? 

All Yes, Chip, and he has asked me to be his wife. 

Chi. Bully ! And what did you say ? 

All I promised him his answer the next time I saw him. 

Chi. And you're goin' to say yas ! Hooray ! Get married 
right away, won't you? I never was to a big weddin', an' 
Harry Woodson's such a good feller. I'd fight my way 
through a stack of wild cats for him. 

All You are a brave little girl, and I don't know how to 
reward you. 

Chi. Don't want no reward. But, say, there'd be some 
peace in the family, if you'd buy our farm, 'cause dad's dead 
bent to sell it, so's ter git rid er payin' the morgige. 



40 THE LITTLE BOSS. 

Syl. (ate. d.). I-i-it's too 1-1-late, Miss W-W-Wentworth. 
(Out of breath.) 

All Have they cashed the drafts ? 

Syl. Ah, y-y-yes. 

Chi. I don't believe that feller can say anything else. 

All This is serious. I had hoped to stop payment. 

Syl. I h-h-hurried to the b-b-bank f-f-fast as I could. Mr. 
Whitsell d-d-don' t walk very b-b-b 

Chi. Beautiful? 

Syl. B-riskly. 

Chi. Where is the old katy-did, anyhow ? 

Syl. D-d-don 't know. Asked me to w-w-wait 'til he saw 
Higgins. 

Chi. That settles dad. 

All Anything serious ? 

Chi. Oh, no, not killin' ! Higgins keeps the saloon. Dad 
wanted ter get a drink o' licker. 

(Caroline is nodding off to sleep. ) 

All We must find Harry, and tell him about the drafts. 

(Caroline drops asleep, falling full length on the couch.) 

Chi. That's right. Come ahead. No, you and Mr. Syl- 
vester go ; I'll stay here with mammy. 

All There is no time to be lost. Come, Mr. Sylvester. 

Syl. Ah, ye-e-ss. [They exeunt c. d. 

Chi. 'Tain't no harm to jus' peek round a little. Wonder 
where that goes to. (At r. 2.) I'm going to see. [Exit R. 2. 

Car. (snores ; goes to turn over, and falls off the up stage 
side of cot; sits up). Golly ! Who hit me? Whar I is, any- 
how? I know, dot chile don' push me outer bed. (Rises.) 
No, 'tain't — we's lookin' fer dat Ian' man, an' dey's don' gon' 
an' lef me — I foller 'em, dat's what I do. . [Exit c. d. 

Chi. (enters r. 2). Can't find nothin' in there. Guess I'll 
try this door. {Crosses to l. 2 ; Whitsell ?nakes a noise in 
couch.) What's that ? Why, mammy's gone ! (Whitsell 
groans.) Lordy ! This house is haunted. (Whitsell lifts 
top of couch.) Look at that thing move ! Somethin's wrong 
in this place. (Lid raises.) There it goes agin. (She goes 
round in front of couch ; down on her knees ; peeping.) No, 
sir, it's the bogus man, and he's hidin' in there. Oh, if I only 
had a stick I'd poke him out fast enough. (Turns away from 



THE LITTLE BOSS. 4 1 

couch ; Whitsell lifts lid ; she turns back facing him.') Dad ! 
by thunder ! 

Whi. (rising). Why Chippy, it's you, ain't it? 

Chi. The fool killer's dead in this dee-strict. 

Whi. Yo' ain't mad, er ye? 

Chi. No, but I will be, if I keep fallin' over you every 
time I turn round. Come, now, get out er here quick. 

Whi. Why, I come here 

Chi. Never mind your past history. Get out. I've got 
business on hand, an' you'd spoil any settin' of eggs in the 
world. (Pushes him toward c. d.) 

Whi. I calc'late I kno' a thing er two. 

Chi. Well, nobody suspects you of it. (Pushes him out 
c. d.) 

Har. (at c. d., disguised with beard, etc.). Chip? 

Chi. Little familiar, ain't you ? 

Har. Chip, don't you know me? 

Chi. Harry ! Well, I'll swan to Moses ! What are you 
doing like that ? 

Har. I didn't want them to know in town that I was 
alive, so I disguised myself. Lydecker and Simons are com- 
ing here. They've drawn the money on the drafts, and have 
just left Simons' place. Come, they mustn't find you here. 

Chi. Well, I reckon they will. That's what I came for. 

Har. No, no ! Not yet. We must recover the money, 
but it will take strategem. 

Chi. Well, I'd take a club or a gun. 

Har. That's all right, at the proper time, but not yet. 

Chi. All right. You're bossing this detective job, but I'd 
rather stay. (Starts to c. d.) 

Har. No, no, not that way; we might meet them. This 
door leads out the back way. 

Chi. It's bad luck to go out another way from what you 
come in, but all right. [They exeunt l. 2. 

Lyd. (enters c. d.). I've got the money and given the 
Hebrew the shake. Now to get a few things in my room, and 
get out for New Orleans. (Starts to l., meets Ann, who 
enters l. 2.) Oh ! 

Ann. Surprised, ain't you? 

Lyd. Why, yes, — that is, no. I was just going to look for 
you, my dear. 

Ann. You lie, Jack Lydecker. 

Lyd. What ? 



42 THE LITTLE BOSS. 

Ann. Yes, and you know it. 

Lyd. Why, Ann, dear, you're excited. 

Ann. No, I'm not, but I'm not such a fool as I have been. 
You've lied to me for the last time. You've got your things 
packed, and are going to jump. 

Lyd. {starts). Who says so ? 

Ann. I say so, and I know you. You're trying to shake 
me, but you can't. You'll marry me, and take me with you, 
or you'll not go — that's all. 

Lyd. Now, what would you do ? 

Ann. Stop you with this. (Shows knife.) 

Lyd. Oh, come. I promised you some money. Here. 

( Takes out money. ) 

Ann. Oh, you can't do that any longer. 
Lyd. D n you, get out of my way. 

(Pushes her aside ; she seizes him.) 

Ann. I'll die first ! 

Lyd. (snatching knife ; stabbing her). Then die, d- n 

you ! (She falls.) You might have saved me all this trouble, 
if you had stood out of the way. (Throws rug over her.) 
Another little encumbrance disposed of. [Exit l. 2. 

Mo. (enters c. d.). He's gone, ant all — all de peautiful 
money. Vat shall I to — vat shall I to? I'fe pin rob't — oh de 
peautiful money. (He stumbles against Ann.) Vat is dot ? 
(Throws off rug.) A vooman, an' she's asleeb ! (Kneels.) 
No — no — she's tead ! Tead ! Vat's dis? (He gets blood on 
his hands.) It's blood ! She's pin murteret ! Here is a 
knife. (Picks up knife.) She's pin murteret ! Who shall say 
who dit id ? 

Lyd. (enters l. 2, with grip and overcoat). I will — that you 
did! 

Mo. Vat ? 

Lyd. I am sorry to have caught you, Mo. Such an old 
friend, too. However, I am going away. If they don't catch 
you before I go, I won't have to testify. 

Mo. Coing avay ! Coing avay ! Put de peautiful money, 
Jackie — de peautiful money ? 

Lyd. Will all go with me. 

Mo. Oh, Jackie ! Jackie, you ton't mean id ? 

Lyd. Yes. It would be too bad to make two bites at a 



THE LITTLE BOSS. 43 

cherry, my boy. Besides, I'll have to be paid for my silence 
about that. {Points to Ann.) 

Mo. Oh, de peautiful money ! 

Lyd. You're all right, Mo., if you did kill the woman. 
Tell you what I'll do — I'll help you get rid of her, seeing that 
you give your consent for me to keep the dust. 

Mo. Put I ton't gonsend do nodding. (Lydecker points 
to Ann. ) Ton't ! ton't ! Keep de money. 

Lyd. I thought so. Come, catch hold. 

{They carry Ann off l. 2.) 

Chi. (enters c. d.). This here de-tective business keeps a 
feller hustlin'. Sellin' a farm an' ketchin' counterfeiters an' 
robbers is business. 

(She conceals herself behind screen, behind which there is a 
chair. ) 

Lyd. (enters l., followed by Moses). She's all right in 
there 'til night. 

Mo. Oh, Jackie, Jackie, ton't leaf me. 

Lyd. Didn't I tell you I'd do the square thing by you ? 
Sit down. ( They sit at table.') 

Mo. Vat shall I to ? vat shall I to ? 

Lyd. Shut up. See here — to-night I'll help you toss that 
in the river. Mind, I'm doing you a great favor, putting off 
my little trip until to-morrow. 

Mo. Put de peautiful money — de peautiful money? 

Lyd. Here. I'm going to be liberal with you. 

(Takes out a roll of bills.') 

Chi. (behind screen). Oh, why can't I reach that table? 

Mo. Isn't it peautiful? 

Lyd. There ! There's a hundred dollar note. 

(Pockets balance of money in right hand coat pocket. ) 

Mo. Is dot all ? 

Lyd. Oh, no. But I keep the rest. 

Mo. Put, Jackie ? 

Lyd. All right, then. (Pises ; crossing l.) I'll tell about 
that. (Points l.) 

Mo. (jumping up ; running to him.) I'll dake de huntert 
tollars. 



44 THE LITTLE BOSS. 

Lyd. {up close to screen ; picks up his hat). Good ! .Then 
to-night, we close up that little matter {points l.) and I — say 
— nothing. 

Mo. Svear id, Jackie — svear id ! 

( Close to Lydecker on his right side. ) 

Lyd. All right. I swear. 

Mo. Holt up your right hant so. {Puts up his left hand 
close in front of screen.) Ant svear — so helb you — nefer do 
say a vort 

Lyd. {holds up his right hand close to Moses' left). There 
you are. I swear. 

Chi. {quickly snapping handcuffs on both their wrists). I 
should think you would. 

{Conies from behind screen.) 

Lyd. What's that? 

Mo. Ve're binched. {They struggle.) 

Chi. Couldn't help it. Jewelry becomes you. 

Lyd. The jig's up. (Chip blows whistle.) 

Har. {enters c. d., followed by Alice and Caroline). We 
are just in time. 

Chi. Bet you are. {To Lydecker.) Here, shell out — 
'scuse me, your right hand's busy. {Takes money from his 
pocket ; giving it to Alice.) There. 

All She has saved the money, and handcuffed the men. 

Car. Good Lawdy ! Dat chile done it all by hersef. 

Whi. {enters c. d., followed by Sylvester). By gum 1 
She's goin' ter buy th' farm. 

Syl. Ah, y-y-yes. 

Chi. {to Alice). Did you say it ? 

All {giving her ha?id to Harry). Ask Harry. 

Chi. Jimminy ! Think I've had a heap to do with joinin' 
hands all round. Come here, dad. {He crosses to her.) I 
forgive ye, but the next time ye want to sell a farm, let me 
know ahead o' time. Ye see what it's led to. 

{Points to Alice and Harry, Lydecker and Moses.) 

CURTAIN. 

I offc 



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LITTLE TRUMP; 

OR, A ROCKY MOUNTAIN DIAMOND. 

<A T>rama in Three cActs. 

By A. LINCOLN FISHER, 

Seven male, four female characters. Costumes, modern and character. 
Scenery, varied but easy. This is a typical Western drama, with a soubrettc, 
lead, similar to the popular " Triss." The dramatic interest is very strong, the 
characters widely diversified. Two " heavy " characters, one a Mexican, good 
comedy, male and female, and strong " character " bits. Little Trump is a 
capital soubrette, and Gushington Splatterbee (comedy) a part of great oppor- 
tunity. Plays a full evening. 

PRICE 25 CENTS. 



SYNOPSIS. 

Act I.— In the Rockies. Rube's home. Phil and the " greaser." Prospect- 
ing. A leaf from the past. Little Trump. " The face of the senora." Uncle 
Rex. A heated interview. " If you hurt my gran'pa, I'll let daylight through 
you!" The lost locket. A clue. A gentleman from the East. The breakdown. 
Hospitalities. Rex's romance. On the trail. Gushington's little stunt. 
Minerva, the tenderfoot. Seeing the sunset. Trump's story. The tin box. 
"She is my daughter's child." Rube breaks the news. "I ain't gone yet, 
gran'pa." The abduction. Rex lias the drop on the " greaser." " Shoota now, 
if you dare ! " 

Act II. — The pursuit. The ruined Hacienda. Old Pepita. Trump's new 
grandma. Under guard. The road-agents. Raising the wind. Pepita's friend. 
On guard. Splatterbee to the rescue. A ghost. Pepita the witch. A proposal. 
" When Trump is found you shall be in truth her Uncle Rex." An angry 
father — perhaps. The effect of moonlight. An old hen. Trump's escape. 
The discovery. Pepita's death. A forged story. The meeting. A duel to the 
death. Another chance. A cowardly ruse. Shot in the back. Destroying the 
traces. The explosion. In the nick of time: Rex's rescue. " And I've mislaid 
my note-book ! " 

Act III. — In New York City. Six weeks and no clue. A close call for Rex. 
Who is Philip Cranston? Claiming her promise. "A gentleman below." 
An interview. A familiar face. A clue. Making terms. The price of crime. 
Identified at last. A change of plans. " No opera to-night." Gushington 
ahead. A close call. Good news. Splatterbee holds a " little Trump." Safe 
at last. Squaring accounts. " The devil ! Rex Kenyon alive ! " Beaten at 
every point. Manuel turns. Gushington throws off the mask. " And just you 
make a note of that." 

A POLITICAL PULL. 

c/1 Comedietta, in One <Act. 
By JOHN JASPER JACKSON. 

Three male, three female characters. Costumes modern: scenery an »as\ 
interior. An original and amusing little story of love and politics, in whi_*h .. 
graphophone plays the leading part. A suitable piece for parlor performance. 
Irish low-comedy, and capital juvenile parts. Plays twenty minutes. 

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A NEW FARCE COMEDY. 



FERGUSON, OF TROY. 

c/1 Farce Comedy in Three diets* 

By BERNARD FRANCIS MOORE, 

Author of "Brother Against Brother," "The Rough Ridki:," etc. 

Five male, four female characters. Costumes, modern ; scene, an easy 
interior, the same for all three acts. This is a bustling, active farce, modelled 
upon a type of piece that is enormously popular in the theatre, but in subject, 
treatment and requirements adapted, after this author's characteristic manner, 
precisely to the needs and limitations of the least experienced amateurs. Fer- 
guson, a " red hot sport," is a good part, and Mike Murphy and Johanna Mul- 
rooney good comedy characters. Plays a full evening, 

PRICE J5 CENTS. 



SYNOPSIS : 

Act I. — Morning. Trouble. Walter's return. A close call. "Shall I 
send for Dr. Ferguson ? " Hogan's barn. The morning papers. A burglarious 
entrance. An unpopular lover. The drop on Walter. " 1 have that saintly gen- 
tleman just where I want him." The masked ball. Johanna and Lionel.' The 
airship. A popular journal. Charley's victory. Ferguson, of Troy. A police- 
man by the name of Murphy. On a rope. " You must disguise yourself.'" The 
black eye. A horrible disease. A bushel of fun. "My sister Ellen." "I'll 
kill Ferguson for this! " 

Act II. — Noon. More trouble. "A serpent in our midst." Ferguson 
again. Walter's little game. A duel. Suzette and the lunatic. Charley's 
turn. Joining forces. The copper with the black eye. Johanna and the chal- 
lenge. Off duty. The story of the chicken fight. In hiding. A lady visitor. 
"Suffering cats! Belinda!" 

Act III. — Evening. Most trouble. A jealous wife. Ferguson, as usual. 
A lunatic rival. Explanations. " Remember, sir, the hour of four." Mike's 
discovery. A dilemma. Belinda. Love and duty. A little jolly. The two 
Avives. Always Ferguson. Mike and the madman. Knock-out drops. A duel 
to the death. Light at last. Mr. Ferguson, of Troy. 



BLACK MAGIC. 

A < Burtesque cKggro Sketch, 

By ROBERT MELVILLE BAKER, 

Author of " An Awkward Squad," " For One Night Only," etc. 

Two male characters. Costumes, burlesque ; scenery, of no importance. 
Properties numerous, but easily assembled. A clever travesty of a sleight of 
hand performance. Prof. Hermann, the Fake's conjuring is as side-splitting 
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opportunity. Plays about half-an-hour, with all the tricks described, but may 
be shortened by omissions. 

PRICE \5 CENTS. 



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NEW COMEDIES. 



FOR ONE NIGHT ONLY, 

cA- Comedy in Four cAds. 

By ROBERT M. 'BAKER, 

author of " An Awkward Squad," " Black Magic," 
" Bachelor Hall," etc. 

Five male, four female characters. Costumes, modern society; scenery, a 
single easy interior. An admirable comedy which, in another translation, has 
been immensely popular on the professional stage for many seasons. High in 
tone, lively in character, it ideally answers the demands of amateurs, to whom 
it offers unusually few difficulties in production. Plays a full evening. 

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SYNOPSIS: 

Act I. — The Professor's study. The play's the thing. A lonely husband. 
Spartan Spotts, the manager. The Roman tragedy. "There's money in it!" 
An old friend. Awkward reminiscences. A dead secret. Mrs. Goldwhinney's 
return. A crisis. The postal card. "The Queen of the Amazons." "Oh, 
papa!" 

Act II. — An old classmate. "A devil of a mess." Exhibit A. Dangerous 
frankness. A forced confession. A strange man. The secret out. "Hush! 
here is your mother." A three-cornered loan. A dramatic difficulty. The 
Fireman's Ball. A little bluff. " Barn-storming." 

Act III. — The day of the performance. King Titus Tatius. " A letter! " 
" I am prepared for anything." Rosa and the seven of spades. On the cards. 
A little plot. A family row. The plot succeeds. Off to the play. A mysteri- 
ous caller. The Professor's return. " We are lost." The last of the Romans. 
For one night only. 

ACT IV. — The remains of Spartan Spotts. A frugal breakfast. "That 
blamed parrot." Retiring from the stage. Mrs. Goldwhinney's revenge. His 
picture to the wall. That bore again! Packing. A great success. The Pro- 
fessor reinstated. Positively his last appearance. 



WINNING WAYS. 

cA Farce in One cAct. 
By WALTER F. RICE. 

Four male, two female characters. Costumes modern; scene, a simple 
interior. A cleverly imagined bit of misunderstanding, very bright and lively, 
and well suited for parlor performance. Plays half an hour or less. 

PRICE 15 CENTS. 



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t The Plays of He 



is 

/Is 

/is 

/IS 



Edited with Critical and Biograpl 
by EDMUND GOS 



> This series is offered to meet a growing demand f 
abused and hotly-discussed writer, whose influence o 
is enormous even if his vogue in the American 
small. These plays are intended for the reading p 
for the use of literary societies and reading clubs, a. 
suggested to dramatic clubs, as providing unconventiona. *>u 
ble material. As a dramatist Ibsen is absolutely " actor-tight,'' 
more successful parts and inspired more " hits " than any of his ... 
contemporaries. This edition is printed in large, clear type, well suites 
use of reading clubs. The following titles are ready. 



acters, and three children. Price, 25 cents. 



THE PILLARS OF SOCIETY. 



J /ft a doll>s house | Aass^g^^SftSSKJg: & 

•' /IS 

/s 

■ W. GHOSTS. I 

A' 

si/ 



ROSMERSHOLM. 



A Play in Pour Acts. 
Translated by William 

' Archer. Ten male, nine 

Price, 25 cents. 

A Drama in Three Acts. Translated by William 
Archer. Three male, two female characters. 

Price, 25 cents. 

A Drama in Four Acts. Translated by M. 
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THE LADY FROM THE SEA. | 



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characters. 



AN ENEMY OF SOCIETY. 



ters. 



A Drama in Five Acts. 

Translated byCLARABELL. 

Five male, three female 

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A Play in Five Acts. Trans- 
lated by William Archer. 
Nine male, two female charac- 
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Drama in Five Acts. Translated by E. 



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I HE WILD DUCK. | M AvELTNOt 

■ characters. 



THE YOUNG MEN'S LEAGUE. 



male, six female characters. 

HEDDA GABLER. 



A Play in Five Acts. 

Translated by Henry 

Carstarphen. Twelve 

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A Drama in Four Acts. Translated by 
Edmund Gosse. Three male, four female 
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THE MASTER BUILDER. 



female characters. 



A Play in Three Acts. Trans- 
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liam Archer. Four male, three 
Price, 50 cents. 



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2 OPE 



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015 799 644 7 

y H. r*v ^^ji^i^h^v»b«i-»ita. 
by M. L. COOLEY. 



female characters, and as many as desired for chorus, 
but not difficult ; scenery desirable, but not absolutely 
'"' .rten primarily for boys, particularly for boy choirs, boys' 
' . . iiibs, it was intended originally that boys should play the female 
. ..lacters, but girls may be introduced in these parts, if desired, and also in 
the chorus. The music is easy, catchy, and easily learned. Five of the parts 
demand good singers, but the other characters are not exacting. The music is 
printed complete with the text. The plot of the operetta is inspired by the 
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Price 50 cents. 



A DREAM^S FLOWERS. 

& Cantata for ffiijitornt. 

CONSISTING OF SONGS, CHORUSES, RECITATIONS, 
DIALOGUES, ETC. 

By NELLIE E. CASE. 



For fourteen little girls, one little boy, and chorus. Costumes fanciful, but 

easily gotten up. No scenery needed, though it can be employed to advantage. 

This cantata primarily celebrates May Day, introducing a May-pole Dance, but 

.' it is good and not unsuitable for performance at any season. It is published 

SXi complete with music, pretty and very easy. This piece is the work of an expe- 

vK rienced teacher, familiar with the needs and limitations of children, and is 

\V offered with confidence. * 

\|f Trice 25 cents. 



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